Roger Waters, an outspoken supporter of Palestine, is once again in hot water with various Jewish and pro-Israeli groups. Ultimate Classic Rock reported that the Simon Wiesenthal Center has taken umbrage with one of the graphics shown on the infamous inflatable pig used during Waters' July 18th performance of The Wall in Werchter, Belgium. Included among the various "symbols of fascism and oppression" shown on the pig during "In The Flesh" and "Run Like Hell" was the Star of David -- which is one of the most coveted symbols of Judaism, along with being the centerpiece of the Israeli flag. The hindquarters of the pig also clearly featured the silhouette of a man giving a Nazi salute.

Rabbi Abraham Cooper, the Associate Dean of the Wiesenthal Center, told the Jewish newspaper, The Algemeiner: "With this disgusting display Roger Waters has made it crystal clear. Forget Israel, never mind 'limited boycotts promoting Middle East Peace.' Waters is an open hater of Jews. The video (of the performance) is beyond shocking. The only books this bigot should be getting should be with the Mullahs in Iran and the Muslim Brotherhood. . . The Simon Wiesenthal Center urges other entertainers to denounce his anti-Semitism and bigotry."

Waters fan Alon Onfus Asif -- an Israeli citizen living in Belgium -- spoke about his reaction to the symbols on the pig, which was first featured -- without any markings -- on Pink Floyd's 1977 album, Animals, and debuted in concert during that year's shows. Asif told Israel's Yediot Ahronot, "I came to the concert because I really like his music, without any connection to his political stance toward Israel. And I had a lot of fun, until I noticed the Star of David, on the inflatable pig. That was the only religious-national symbol, which appeared among other symbols for fascism, dictatorships and oppression of people. Waters crossed the line and gave expression to an anti-Semitic message, beyond all his messages of anti-militancy."

Before Roger Waters started planning the initial gigs for the new version of The Wall, he wracked his brain to try to devise a method for the piece to cover more and different ground than the original 1979 tale of personal alienation and doom: "Could the piece be developed to describe a broader, more universal condition than we did in 1980 and I did in 1990 in Berlin? So, I started to think about it more and more and I suddenly had a few more ideas and I thought, 'Maybe if we did this with this song and that with that song, we could achieve that.' And so I started jotting few things down on paper and eventually I said, 'Y'know what, I think I'm going to do this.'"